On 5th January 2021, to celebrate the USA launch day of NORA, I, along with fellow Irish author Eibhear Walshe – who wrote the wonderful The Last Days at Bowen’s Court about Elizabeth Bowen – did an online bio-fiction event with Columbia University, facilitated by scholar and author Heather Corbally Bryant.
The event is online now and you can view it on YouTube here.
All thanks to the gracious Emily Bloom of Columbia Uni for stellar organising.
The Sunday Independent has included NORA in its Top Reads for 2021, which is rather lovely.
Despite the subheading above – about ‘taking advantage of lockdown’ – it’s doubtful any of the books on this list were written last year.
I finished writing NORA in early 2019, having started it in 2017, and since then it’s been through the editorial process with my agent; then with my editor, a sub editor, and a copy editor at Harper Collins in New York; then came the cover, blurbs, and jacket design choices; and the novel had another good old edit with New Island in Dublin after that. It also had a name-change along the way – I had originally called it Barnacle. It takes a long time to make a book, not the matter of a few months cited above.
I’m pleased with this (p)review of NORA, from Publisher’s Weekly:
O’Connor (Becoming Belle) expands on her Granta award-winning short story, “Gooseen” in this poignant, comprehensive portrait of Nora Barnacle as a young woman, mother, and literary inspiration for the Molly Bloom character in Ulysses. Nora and James Joyce’s inseparable attachment begins in Dublin on June 16, 1904 (forever remembered as Bloomsday for the setting of Joyce’s masterpiece) and stretches to 1951. Narrated in Nora’s robust voice and carried by details saturated in filth, such as a walk along the Liffey river that “smells like a pisspot spilling its muck into the sea,” the narrative traces Nora and Joyce’s nomadic life from Ireland to Trieste, Zurich, London, Rome, and Paris, and details their constant money worries, health concerns, struggles with two difficult children, and emotional despair. Despite their personal and professional achievements, and a circle of friends that includes Sylvia Beach, the Guggenheim sisters, Samuel Beckett, Ezra Pound, and other literati, the couple suffers loneliness and “mutual melancholy.” An inscription on a bracelet that Joyce gives Nora underscores their commitment to one another: “love is unhappy when love is away.” O’Connor’s admirable accomplishment adds to the abundant Joyceana with a moving examination of an unforgettable family. (Jan.)